It seems hardly any time has passed since I reviewed the Spyder X2 Ultra. The SpyderPro has now superseded that, an update extending its predecessor's functionality and ease of use.
Why Use a Calibration Tool?
Just because your editing monitor shows colors that look good to you doesn’t mean your audience sees them the same way. The Datacolor SpyderPro calibrates your display, ensuring you see true-to-life colors and tones that provide a reliable foundation for your editing work.
It’s Easy to Calibrate Your Screens
Some things in photography are needlessly complicated. For example, if I want to set my custom modes on my camera, with a couple of clicks, I can assign all the current settings to any of the four available to me. It’s simple. I was using a client’s camera recently, and I couldn’t do that but needed to enter all the settings separately in a different menu. What a faff that was. Similarly, on my camera, if a menu item is greyed out, it tells you why. Not so on some other brands, where you must search the Internet or ask a friend to find out why you cannot access certain features.
Historically, I found screen calibration tools, called colorimeters, pointlessly complex too. A photographer once needed background knowledge to set up the calibration software. I was fortunate because I had that knowledge, but not everyone I knew did.
Fortunately, Datacolor, the manufacturer of SpyderPro, has made things more accessible over the last few iterations of their calibration tool. Now, simple and accurate adjustments of your screen’s or screens’ color and brightness are achieved using an easy-to-use program and a simple lens-based calibration device.
What Do You Get for Your Money?
The SpyderPro arrives in a strong, neat box. Inside is an information card explaining where to download the software. Hidden below is the Spyder Pro device, a USB-C to USB-3 adaptor if your computer does not have a USB-C port, and the serial number required to get the software activation code.
The last couple of Spyder releases have been lens-based, which gives far greater accuracy. The device itself is of a solid white plastic construction. It comes in two parts connected by the USB wire, with the lid section protecting the lens and acting as a counterbalance for the main unit when in use.
Installing the App
The SpyderPro software installs just like any other, with the usual license agreement and other mundane screens one faces when adding new apps to your computer. On opening it, you must enter the serial number into the software. This process will give you an activation code that is in turn needed to activate the software. You’ll find all that in the Help menu. Make sure that you retain the serial number and activation code as they will be needed if you reinstall the software.
After the “Activation Successful” message, you can calibrate your screens.
Calibration Process
The SpdyerPro can now calibrate a wider range of screens than before. Besides standard LED backlit screens, it can also manage CCFL and Green/Blue backlit screens, as well as wide gamut LED screens, Apple XDR, high-brightness displays, OLED, and Mini-LED.
It’s important to reset your display’s controls to the default settings if possible. Also, disable screen functions such as HDR, auto-brightness, and other features that automatically change the look of your display. Furthermore, let the screen warm up for 30 minutes before calibrating.
There are two options available from the welcome screen. The first is Calibrate My Display(s), which does exactly that, and the other is the soft proofing option called Device Preview™ Beta. The latter allows you to preview how images would look on different devices or printers using its feature. That function also gives warnings to show if an image is out of gamut—in other words, whether the color is outside the capabilities of the printer or device.
However, we usually start with the Calibrate My Display(s) option. On clicking Next, a simple set of instructions follows that involves hanging the calibration device over the screen and following the instructions.
If your screen can be tilted backward, this will help the device sit against it. On an older screen that didn’t tilt, I used a piece of weak elastic to hold the tool in place. But most screens these days are tiltable.
Once underway, the screen will flash a wide range of colors and tones, reminiscent of loading a program onto a Sinclair Spectrum. Ultimately, the software will create a new profile for the screen. The software automatically identifies the names of my screens.
A secondary app, called Spyder Utility, runs permanently in the background and loads the profile to the screen each time you start the program running. It works slightly differently on PCs than on Macs, but with both, it offers easy access to the SpyderPro's functions.
Another feature in the software is called Studio Match. It harmonizes the multiple displays in a studio, even if attached to other computers.
There is also a Display Analysis tool. This measures the gamut, tone response, screen uniformity, brightness and contrast, white point at different On-Screen Display (OSD) settings, and color accuracy.
The process varies a bit depending on the screen and what controls you have available, but it’s a straightforward operation.
After calibration, a Profile Overview allows you to view your display’s gamut and compare it to industry standards or profiles you previously made. Moreover, if you leave the calibration tool plugged in, the sensor can detect changes in the ambient light and adjust the screen brightness to compensate for that.
Another neat feature is Check-CAL. This quickly checks the screen’s calibration to see if it is still valid or if you need to recalibrate it. However, each of my screens takes around 90 seconds to calibrate, so it’s not as long-winded a task—I just recalibrate instead.
There is also a facility to check the brightness at different regions of your screen. You do this by placing the SpyderPro in various positions on the screen. My PC is at floor level on my right, and I use two monitors. My desk height adjusts so I can work at it standing. This is farther than most people would have their computer from their screens. The SpyderPro’s cable is just long enough to place the Spyder almost in the middle of the left-hand screen with the desk in the standing configuration, but not at the base of the screen unless I lower my desk to its sitting height, when the cable is more than long enough.
The lens-based tool makes the calibration far more accurate than older iterations. I compared a proof copy of an image with a print, and it was spot on. I guess that is what one is looking for when screen calibrating.
What I Liked and What Can Be Improved
What I liked
- Robustly made; it survived me accidentally dropping it from my desk.
- Fast calibration
- Accurate
- Constant checking of light levels
- Easy to use
What Could Be Improved Next Time
- An extra 10 cm of cable would be handy for my extreme monitor-to-PC distance.
- If you accidentally switch the screen off and back on when adjusting its brightness during calibration, the software falls into a looping crash that requires the process to be stopped in the task manager. This is due to user error, and I managed to err twice.
Specifications
What's in the Box
- Spyder X sensor, Welcome Card with link to software download and warranty information, unique serial number to activate software, link to online demonstrations, user guide, videos, and support
System Requirements
- Windows 10 32/64, Windows 11, Mac OS X 10.10 and above
- Monitor resolution 1280×768 or greater, 16-bit video card (24-bit recommended),
- 1 GB of available RAM, 500 MB of available hard disk
- Internet connection for software download
Supported Languages
- English, French, Italian, German, Spanish, Russian, Japanese, Simplified Chinese, Traditional Chinese, Korean
Supported Display Technologies
- Supports most modern display types
Supported USB Protocols
- USB 1.1, USB 2.x, and USB 3.x
- USB-C plug, also compatible with USB using a USB-C-A adaptor
Other Specifications
- Max luminance: 2,000 nits
- Backlight types: Wide LED, Standard LED, General (Wide and Standard CCFL), GB LED, High Brightness, OLED, Mini LED
- High brightness calibration
- Projector calibration
- Gamma curve settings: Unlimited
- Whitepoint settings: Unlimited
- Brightness settings: Unlimited
- Display Analysis/MQA: Elite/Full
- Number of displays supported: Unlimited
- Supported languages: English, French, Italian, German, Spanish, Russian, Japanese, Simplified Chinese, Traditional Chinese, and Korean
- Environmental certifications: CSA, C-Tick, CE
- Operating temperature: 41 to 104°F / 5 to 40°C
- Operating humidity: 80%
- Physical color: White
- Dimensions: 3" x 3" x 1.75" (7.6 cm x 7.6 cm x 4.45 cm)
- Weight: 0.32 lb / 0.15 kg
- Package weight: 0.635 lb
- Box dimensions (LxWxH): 5.4" x 4.8" x 2.7"
In Conclusion
The SpyderPro has come a long way over the last few years. It is a quick and simple way to calibrate your screen, and the results are accurate; I found my different brands of 1080p and 2K screens matched in brightness and color after calibration, and the results of prints matched the proofing.
Of course, there is no guarantee that those you share your pictures with have calibrated monitors. But at least you will have the satisfaction of seeing the tones and colors you intended. Moreover, for ensuring your printing results are accurate and that your multiple screens match, the SpyderPro is a device worth your consideration.
This is a relatively minor upgrade from the Spyder X2 Ultra I reviewed about a year ago, which is still available, and unless you use one of the screen types that has been added to this version, it might not be worth the investment. However, if you do not yet calibrate your screen with a lens-based tool—and it is something that every serious photographer should consider—then you won't go far wrong with this.
The Datacolor SpyderPro retails at $269.
Other Spyder products are available online at different price points.
I own one of these and actually disagree that they are a must-have for most photographers. I'd only argue that they are a "must-have" if you typically intend to print your work, which most photographers simply don't do anymore.
The reason is that you can't control the calibration of the display that people view your work on, so having a calibrated screen to edit on is irrelevant. If anything, the best tool you have to "preview" how something will look on users displays is to leave your displays factory calibrated.
I understand your point, but you are arguing against something I didn't say. I didn't claim it was a "must-have for most photographers?" I said, "Something Every Serious Photographer Should Consider Buying." which has quite a different meaning.
If I leave my two screens with factory settings, they give completely different results. When I bring my third screen into the equation, it is different once again. Furthermore, besides the printing - something I would argue many serious photographers do - when sharing images with other serious photographers who have calibrated their screens, the images will appear on their displays as intended.
In fact, every display should publish it's colour profile.
I'm pretty sure that Apple use it on their displays.
It's like drinking a good wine or drinking water. If you like water, keep on drinking water... But stop saying it have a better taste than a good wine because it's ridiculous.
--- "I own one of these and actually disagree that they are a must-have for most photographers. I'd only argue that they are a 'must-have' if you typically intend to print your work"
I'd have to disagree. While true you can't control others displays, it's just best practice to set a proper baseline. And, having a calibrated monitor is at minimum for your own viewing pleasure. The colors are correct and the grays and blacks have proper tonality.
--- "the best tool you have to 'preview' how something will look on users displays is to leave your displays factory calibrated."
That is false because at minimum, there are 3 typical color casts of uncalibrated monitors: green, magenta, and midnight blueish (my M1 MBA). I highly doubt your monitor will be all factory calibrated at all 3. It's going to be one or the other.
I own an older version the SpyderX and it’s invaluable when printing your own work, ensures accurate colour on screen. However I know some super duper monitors are pretty close out of the box. Could you live without one? Yes but if you print; then it’s likey a great addition to the workflow, and you can pick them up cheaply on eBay.
Even those displays like the BenQ 321C, while excellent out of the box, do drift over time and need a nudge back into line every few weeks. Though not top of the line, it is still sold on its ability to handle colour accurately and could be said to be a baseline professional display. The software BenQ provides for calibration, Palletmaster Ultimate, while oddly named, is simple to use, so it’s no big deal, and it helps to keep one on the straight and narrow colour-wise. I print wildlife images, birds, and insects, especially butterflies, and want to represent these creatures as accurately as I can. I’m retired but still want to do it as well as I can; we all have our standards. Anyone doing it professionally on a commercial basis would be failing in my eyes if they did not make great efforts to ensure colour accuracy in their work. I suppose it’s all part of being a professional.
I nearly choked when I read this! Not too long ago, Ivor wrote on this very site that monitor calibration was ‘a waste of time ‘ or words to that effect. If you’re curious about his exact words, you’ll have to go back and check. Ironically, I just calibrated my display yesterday because it gave me a reminder, which is quite handy. I use a Spyder X and run BenQ’s software, Palletmaster Ultimate for my SW321C. For any commercial work involving color, I firmly believe that proper monitor calibration should be mandatory. As others have mentioned, if you’re printing your own images, especially if you’re printing a series of related images for an exhibition or public viewing that feature known objects, such as wildlife, then having a calibrated monitor can be incredibly helpful to ensure accurate colour rendition. However, paper choice, the use of ICC profiles, and the correct media selection are also essential; otherwise, the output color can be unpredictable. Even a small deviation can make certain images, like wildlife prints, appear incorrect. If you’re selling prints, color accuracy should be at the top of your list of priorities. Just this week, someone printed one of my images for a public demonstration, and the colors were off. The image was of a warbler, and anyone familiar with birds would have immediately noticed the inaccuracy. The question you should ask yourself ; is color accuracy important in your work, if yes then monitor calibration should be part of your workflow. After all it takes moments to set up and the time it takes to run is ideal for a short break. Being serious about it all is optional, of course!
What I actually said was this:
"The answer to this question is pretty much about whether you need to calibrate your screen or not. If you are only posting photos to Instagram and don’t care too much that your image’s appearance will vary on other people’s screens then just carrying out a rudimentary calibration such as an online tool will suffice. If, however, you take your photography seriously and you want greater accuracy, then screen calibration becomes a necessity. " That's quite different from what you are alleging.
I have also said this:
"However, what about when I am just sharing an image on Instagram? Then, most people who are looking at the image haven’t got their screen calibrated. Everyone else’s phone and computer screens can vary in brightness, contrast, color saturation, and hue. Therefore, how my photo appears to them might be very different from how I see it.
So, no matter how carefully you adjust the colors and tones on your screen, no two people are going to see the same thing. More so because we know people see things differently. Women and men perceive colors differently, with women seeing the world in warmer colors than men and better able to distinguish between shades of red. Meanwhile, men are more likely to make out objects in scenes with poor contrast but are more prone to color blindness; about 8% of men have some form of color perception deficiency.
Furthermore, if you have had a cataract operation, you may have a superpower. There is a good chance that you can see a wider spectrum of colors that others cannot. You possibly even have vision capable of seeing into the ultraviolet after the operation.
Although in some circumstances screen calibration is necessary, for example, if you intend to print, for many photographers it’s an unnecessary waste of time."
Again quite different from what you allege. You are taking what I said completely out of context.
Is the software still hot garbage?
The latest version is good. It ran smoothly and was user friendly.